Postnational Musical Identities: Cultural Production, Distribution, and Consumption in a Globalized ScenarioIgnacio Corona, Alejandro L. Madrid Lexington Books, 2007 M12 28 - 250 páginas Postnational Musical Identities gathers interdisciplinary essays that explore how music audiences and markets are imagined in a globalized scenario, how music reflects and reflects upon new understandings of citizenship beyond the nation-state, and how music works as a site of resistance against globalization. 'Hybridity,' 'postnationalism,' 'transnationalism,' 'globalization,' 'diaspora,' and similar buzzwords have not only informed scholarly discourse and analysis of music but also shaped the way musical productions have been marketed worldwide in recent times. While the construction of identities occupies a central position in this context, there are discrepancies between the conceptualization of music as an extremely fluid phenomenon and the traditionally monovalent notion of identity to which it has historically been incorporated. As such, music has always been linked to the construction of regional and national identities. The essays in this collection seek to explore the role of music, networks of music distribution, music markets, music consumption, music production, and music scholarship in the articulation of postnational sites of identification. |
Dentro del libro
Resultados 1-5 de 41
Página ix
... audiences are imagined and identities performed in a globalized economy; how music reflects and reflects upon new understandings of citizenship beyond the nation-State; how it works as a site of resistance against globalization or ...
... audiences are imagined and identities performed in a globalized economy; how music reflects and reflects upon new understandings of citizenship beyond the nation-State; how it works as a site of resistance against globalization or ...
Página 7
... audience is to impose the scholar's criteria upon it—an obvious exercise of intellectual colonialism. Third, emphasizing the process of production as the locus of musical meaning reduces music to composition and neglects its value as ...
... audience is to impose the scholar's criteria upon it—an obvious exercise of intellectual colonialism. Third, emphasizing the process of production as the locus of musical meaning reduces music to composition and neglects its value as ...
Página 12
... audience receptivity as much as the commitment of the labels to the pursuit of musical experimentation. If male-dominated and Europecentered “progressive music” actually operated within a modernist paradigm as we propose, we should ...
... audience receptivity as much as the commitment of the labels to the pursuit of musical experimentation. If male-dominated and Europecentered “progressive music” actually operated within a modernist paradigm as we propose, we should ...
Página 13
... audiences to African, Brazilian, Asian, and Caribbean instruments and musical elements than their European-based progressive rock counterparts.37 “Progressive music” was also bolstered by new recording technologies and concept albums ...
... audiences to African, Brazilian, Asian, and Caribbean instruments and musical elements than their European-based progressive rock counterparts.37 “Progressive music” was also bolstered by new recording technologies and concept albums ...
Página 14
... audience a certain cultural and educational level and a musical background not too distant from the practitioners ... audiences throughout the twentieth century, confirming perhaps Theodor Adorno's pessimism regarding a liberating high ...
... audience a certain cultural and educational level and a musical background not too distant from the practitioners ... audiences throughout the twentieth century, confirming perhaps Theodor Adorno's pessimism regarding a liberating high ...
Contenido
A Transnational Caribbean | 63 |
Across the USMexico Border | 97 |
SouthAmerican Connections | 171 |
Selected Discography | 219 |
Selected Bibliography | 221 |
Index | 229 |
Notes on Contributors | 237 |
Otras ediciones - Ver todas
Postnational Musical Identities: Cultural Production, Distribution, and ... Ignacio Corona,Alejandro L. Madrid Vista previa limitada - 2008 |
Postnational Musical Identities: Cultural Production, Distribution, and ... Ignacio Corona,Alejandro L. Madrid Sin vista previa disponible - 2010 |
Términos y frases comunes
aesthetic Afro-Colombian album ambient music American music Angeles artists audience balada banda bands bolero border Brazilian Cage Cage’s century Chicano Choc Quib Town Colombian hip-hop composers conflict contemporary context cosmopolitan cultural cumbia dance defined discourses economic electronic essay ethnic ethnomusicology European film find first Garcia Canclini genre global hip-hop hybrid identity ideologies immigrants industry influence instruments Japanese jazz John Cage José Juan labels landscape Latin American Latin Pop listeners Los Lobos Mexican Mexico City Miami migration modern movement musical styles musicians musicology Myriam Hernandez nationalist Nor-tec’s Nor-tee nortefia Nuyorican performance political pop music popular music postnational produced Puerto Rican ranchera rappers record reflected regional rhythms Rico Rio de Janeiro rock samba sense shakuhachi significant social song Sony sound Spanish specific Takemitsu technobanda telenovelas Tijuana tion tional traditional transnational University Press urban Western world music York